Memories of wanderings from my childhood

I have always been a wanderer, being out of home is my favourite occupation. I was born, and have lived in Mumbai (erstwhile Bombay) all my life. It is a very large metropolis on the west coast of India. It also is the only city in the country to have a National park within its municipal limits. I live in the southern peninsular region of the city, and at least a few hours away from any natural regions.

One of my favourite places to be since the first time I saw it, at age 3, is Malshej Ghat, which means “Mountain Pass”, the area had a medieval mountain pass to the hinterland, and a sophisticated toll gate. It now is one of the most dangerous roads in the state; as a result, the area is uninhabited, untouched and beautiful. I remember my first trip there, I was really tiny, on a sketching and landscape trip with my mother and some of her students. I was sitting under waterfalls, running on grassy slopes, chasing mountain crabs, and watching the birds.

My next trip was a year later, and then one more a few years after that, that’s when I, at six years old, felt it would be wise to follow a fox in the fog, I ended up pretty lost, but found my way back to the campsite. Migrating Siberian cranes use the area as a resting spot in July, watching them was fun! I played with rock crabs and snakes. It was also the first time I witnessed a snake ingesting a toad. I also saw several other species of birds, which I now know as the Malabar whistling thrush, Mayna, Flamingos, etc. I spent a whole lot of time in waterfalls, finding insects I had never seen before, and just generally wandering around the area.

I have since then visited the region several times, have climbed all the surrounding hills, including Harishchandragad, the toughest fort in the state to climb to, battled troupes of monkeys, found secret waterfalls, natural caves, untouched rock faces and natural caves. It is also home to a forest of karvi, a plant that blooms once in seven years. The Malabar whistling thrush can also be taught a tune that it will repeat for a little while. It is a quiet, secluded place, put down in the toughest terrain in the country, as also with the most dramatic views. It is my own private reflection space, in the flora and fauna that I love so much. I feel Malshej Ghat is an environment more compatible with me than Mumbai.

Where is the Gothic?

Where is the Gothic?

Gothic architecture was the predominant style of buildings in Europe from the 12th century to the 16th century. Pushed aside by the neoclassical, Baroque, and Rococo styles, it made a comeback in the 17th century where, as an interpretive style incorporating neoclassical elements, it was seen in a wider range of building types. 19th century Victorian Gothic was applied in halls, universities, railway stations, and public buildings. The Gothic, which had begun as a medium of religious gestures, developed into a more encompassing system of building design. Using the strong sense of verticality, ribs, and pointed arches the Victorian Gothic, in some cases even tried to push against the rise of the machine and industrialization.

In this paper, I will try to explain the underlying structural and spatial principles of Non-Religious Victorian gothic revival buildings of the 19th and 20th century, not referring to superficial visual elements, but Ideas. This piece springs from the extensive research I did on Gothic buildings in Mumbai and worldwide while working on my undergraduate degree thesis two years ago. There, the incorporation of the gothic in into my design, did not make it any less modern, but definitely improved the end result. As a result of my research I realized that there is an inevitable paradigm shift ocurring in the Architectural scene now. I will also look at some examples of these buildings that are far apart, both in distance and time.

Gothic architecture was developed in the 10th century as an efficient building system for large buildings, besides primarily being a religious idea. The crusaders returning from the Islamic world brought with them the pointed arch. At this point the only advanced structures builders at the time knew of were masonry buildings. A line representing the force transfered through any arch that spans a distance is a catenary. This was demonstrated by Robert Hooke’s chain in the 17th century, and later by Antoni Gaudi in Barcelona with the more practical approach of attaching weights to string, leading to the superb arches in the Casa Mila (La Pedrera), Casa Batlo, and Sagrada Familia.

Spatially, Gothic buildings were churches. Religious buildings were the only large enclosed structures built by people of the 11th Century, but soon there came a need for public halls, parliament houses, factories, mansions, etc. The Gothic came to the rescue. With applied ornamental additions, Gothic could be efficient and grand at the same time. The architects in the 19th century realized the salient features of the Gothic, efficiency of structure, built-in ornament, good light qualities, and adaptability. The architects used these to their advantage. Hence I contend Gothic to be the precursor to modern architecture

The English architects were the first to interpret Gothic to fit with the sensibilities of the Baroque and Rococo styles, hence it is known as Victorian Gothic. The houses of parliament in London were built by Sir Robert Smirke in 1835 using the Victorian Gothic style. The trend spread to India with the Queen’s rule; within a few decades Indian architects were designing and building the beautiful University of Bombay buildings. They had not only designed in a style outside of the local building type, but they had understood and reinterpreted it to fit into the climate, planning, aspirations, and sensibilities of the Indian people. This type of style is known as the “Bombay Gothic”. Curiously, none of the buildings built at the time in Bombay need air-conditioning, extensions, or changes even to this day.

The 20th century architect Antoni Gaudi, was an architect far ahead of his time designing and building catenary systems with the same masonry blocks used by the neoclassical architects. He used string with weights, and by flipping the model upside-down, the finished shapes of the arches which result would lead to the most efficient structure. There were elements that came prefinished – either precast or finely chiselled stone – that would fit into each other. His arches had a very thin profile, with brick catenaries being made only one brick thick. He had truly understood the underlying principles of the Gothic, and applied them in designing modern buildings. A few decades later, there were architects who were looking back at history to find the essence of structure, and style. One example of such a structure is Pier Luigi Nervi’s Palazzetto dello sport, (Rome, 1958), which uses precast structure and ribbed domes, and borrows visually from classical architecture. Eero Saarinen’s St. Louis Arch, is a catenary, albeit in the form of a composite structure. Even Frank Lloyd Wright’s Prairie style was sometimes referred to as “Horizontal Gothic” at a time when a lot of rich architecture referring to important buildings of the past was being overshadowed by the “International style.”

Now, one could ask, “What do all these buildings have in common?”- Very finely designed building elements that give their occupants a sense of place, at the same time being supported by an efficient structure. Simply put, the catenary is the most efficient way to span a distance because it follows the exact line of thrust. The designers of Gothic pointed arches knew that, but did not have the materials, technology, or computational power to make it possible or viable; hence they used the more slender profile pointed arch. Gaudi had the technology to construct such arches, but not the computational power or materials. Nervi had them all, which freed him of the necessity to adhere to the look of any particular style. The “International style” architects also had them all, but chose to disregard them, and rely on a more austere system of implied purity, leading to a stark and cold appearance, devoid of human qualities. Today, Santiago Calatrava is building structures with very similar techniques, as he has the materials, computational power, construction methods, and skills at hand. I point to Calatrava because his buildings are prominent to a general audience. Now we can understand the Gothic as any structure with a precast system, computational architecture, or organic ideology uses simplicity and efficacy of structure, as well as implied, applied, or inherent ornament.

As architects of the 21st century, we have the resources, skills, and materials necessary to take the structures we design beyond the systems that our predecessors worked with. Just like them, we have an obligation to go forth and break the barriers of technology, materials, and structure, and to make radical shifts in the way buildings are built. The past should not be shunned; rather, it should be used as a stepping stone to the future. I am not implying another Gothic revival, here, but a reason to look back and fully understand the implications of the buildings we design, and the way we go about designing them. Gothic architecture is an important example to follow as the issues of cost efficiency, construction method, and structural stability were all answered long ago. Why not use them to our benefit today?

As you Like it

As you like it. One of the plays currently playing at American Players Theatre, Spring Green, Wisconsin, is “As you like it”, written by William Shakespeare, and directed by Tim Ocel. APT, is a nice theatre situated in the hills near Spring Green, a picnic before the play is recommended, and the venue almost calls for it. I was to attend the 6pm show.

The play is set in the “American dustbowl”, with the audience being greeted by a sombre, almost morose set, made of grey timber siding, painted with trees, crates, boxes and chain link fences. There are several stage entrances and exits, put in well so they can be used in a variety of scenarios. I am inadequately aware of the Great Depression, to link what I saw on stage. Though, I know that it was a time after which America rose exponentially, it was a time for change. According to me, “As you like it” is a play about change. There is a preset condition, of a Duke, who is banished by his own brother, Frederick, and is in exile in the Forest of Arden with some of his loyal followers. His Daughter, Rosalind, is allowed to stay in the kingdom, to accompany Duke Frederick’s daughter, Celia. The Great depression was a time of great hardship, akin to the fate of duke senior.

The play begins with Orlando, the youngest son of Sir Rowland de boys, angered by his elder brother, Oliver’s ill-treatment. He will be contesting the Duke’s wrestler, Charles in a wrestling match the following day. Oliver, who hates Orlando, happy about that, pays Charles to kill him. Oliver, however, wins the match, and also takes a fancy to Rosalind. Rosalind is also banished from the court , and is accompanied by Celia, and Touchstone, the court fool. They disguise themselves, Rosalind as Ganymede, a boy, Celia, his sister, Aliena. They too, escape to Arden. Orlando, also escapes his brother’s murderous plot, with his servant, Adam, they too, go to Arden. The Duke takes all of Oliver’s estate, so he is also forced to go to Arden in search of his Brother. This part of the play uses costumes styled from the 1930’s, with a Mafia-look to the Duke’s men, and a cowboy/farmhand style on the locals. Several lingual references are made to the 1930’s with some folk language, which, maybe diluting the effect to purists, but at the same time, gives the audience something they are familiar with, and lightens up the atmosphere.

Once all the characters are in the forest, Ganymede soon finds out about a certain youth, writing lovelorn poetry dedicated to Rosalind on the barks of trees. She (He) finds him, and devises a way to have him meet her(him) to woo Ganymede, pretending is Rosalind, who she actually is. The play gets more playful at this point, with Rosalind, as Ganymede, and Orlando, sharing good on stage chemistry, Ganymede is not very feminine, merely “effeminate”. This makes the play more interesting and seemingly more colourful. Hay-bales are added as props at this time, for a softer appearance on stage. This radically changes the scene, making it more colourful and cheerful. There is a 20 minute intermission.

After the break, we are welcomed once more by the more cheerful set, and a solemn burial of Adam, the faithful servant. Duke Frederick has put together an army, and is pursuing his daughter Celia. Meanwhile Rosalind finds her Father, the Duke, while in disguise, she however, does not reveal her identity. There is more frolicking in the Forest, with Oliver, who has had a sea-change in his attitude towards his brother falling in love with Aliena, Touchstone with Audrey, and Silvius with Phebe. There is the addition of a whole “Spring time” song in country music, and more jabs at popular culture. It then turns out that Rosalind will come to the rescue of the distraught lovers, and promises them to be in wedlock the following day.

The closing scene shows us everyone in the forest, together, ready to be in wedlock, Rosalind finally reveals herself to her Father and Orlando. Hymen, the god of marriage, enters, blessing the couples. We then hear from a courtier that Duke Frederick also has had a heart change, and has relinquished the kingdom to Duke Senior. The play ends with an epilogue from Rosalind, who seems unsure of herself, but soon gains confidence. She then addresses the audience and bids farewell.

The play seems well set in the 1930’s “dustbowl”, The exile all the characters are in fits with the theme, with all of them living a difficult and hard life, but each one rises to the occasion. There are several omissions from the original script, but not severe. There are several additions, which are more legible, they may not always fit in well with the candour and humour, which is actually set in a sort of melancholy, but they give small breaks to the audience in the theatre. There always seems to be a lot of turmoil, and imbalance in the goings-on of the play, and it never settles down until the finale when all is well, and everything turns out right. The play is a celebration of the human spirit, to endure, rise and succeed.

Pranav Naik

I love Travel

Neanderthal man walked, someone designed the wheel, the wheels of time turned and the world became a smaller place.

Prehistoric man walked from Asia Minor to South East Asia (Good thing he didn’t have a Cell phone), thankfully, we have the wheel and horsepower does not depend on how much you feed the horse. Today’s world facilitates travel under all circumstances, schools go for picnics, colleges for study tours and excursions, others for pleasure trips and retiree vacations.

What is the need for travel?  Is it an exercise? Interlude? Or a design cue? It is a power lunch of all. It is your window to the world and the world’s window to you – it makes you wiser, it’s a source of inspiration. To begin with, Travel and understand your own country, its people and psyche. Realise its Colours, food, customs language, script, and art forms. Travel opens new horizons and creates new perspectives in design. Keeping an open mind helps, it allows you to see the “why?” and “how?” rather than the “what for?”

Recording what you see in the form of sketches, photographs, souvenirs, or brain bytes, will create a bank of ready-to -use visuals for the designer. Learning to observe in this way makes the brain more responsive and puts you in a unique place for perception, interpretation and Ideation

“Once you have travelled, the voyage never ends, but is played out over and over again in the quietest chambers. The mind can never break off from the journey.” – Pat Conroy

Prof. Madhuri Naik

Principal, Art & Design Dept. | Sophia Polytechnic, Mumbai